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To be more specific, it was The Coorong, a rough, remote national park and lagoon ecosystem 156km southeast of Adelaide. It was during a 1960 trip to The Murray Mouth, where the river slips into the southern ocean, in The Fleurieu Peninsula region of South Australia, that Storm Boy was born. After serving in the RAAF during WW2, Thiele had become a passionate environmentalist before the term even existed, and he had a particularly strong affinity for his South Australian surrounds. When the state’s long serving premier, Don Dunstan, had revolutionised South Australia’s education system, Colin Thiele was tapped to set up a college dedicated to training specialist teachers, and he quickly became a figure of great inspiration in the field. The much loved children’s novel was written by Colin Thiele, a part-time author and full-time schoolteacher who was something of a minor celebrity figure in South Australia. It was the version with all of the wonderful pictures by Robert Ingpen, and we took an option on it.” “Somebody – I can’t remember who – said to me, ‘Oh, have you read Storm Boy?’ I just went out and bought it. It was a casual comment thrown Matt Carroll’s way that would change not just the course of his career, but that of the Australian film industry in general.
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Australia’s film industry was still small in the mid-seventies, but the section of it catering to children was practically non-existent, with classics like Dot And The Kangaroo and Fatty Finn still a few years away. In 1975, Matt Carroll had produced Sunday Too Far Away, one of the greatest Australian films of the seventies, and for his next project, the on-the-rise producer shifted gears dramatically. Peter Weir had triumphed with Picnic At Hanging Rock in 1975, Bruce Beresford had unleashed Barry McKenzie upon an unsuspecting public in 1972, and the likes of Gillian Armstrong, George Miller, and Fred Schepisi were warming up with well received short films. In 1976, things were just starting to get rolling again in the Australian film industry after a long period of flat-lining inactivity. The 1976 film, which was directed by Henri Safran, features David Gulpilil (“Walkabout”), who makes a cameo appearance in the new version.“This sort of thing had never been done before in Australia, but it all just flowed,” producer, Matt Carroll, tells FilmInk on the line from his office at Screen NSW. In the present, meanwhile, Maddie asks granddad Michael to tell her the story of “the birds.” The two plot lines interweave and reach their endings together. Percival, and for a time the four “youngsters” frolic in Edenic bliss in the wave-swept and sandy wild. Meanwhile, back in the past, Michael succeeds in raising the three pelicans, the smallest of which he names (ahem) Mr. Maddie is furious with her father and tries to enlist her grandfather in her cause. In scenes set in the present day, grandfather and business executive Michael Kingley (Geoffrey Rush, also an executive producer), wrangles with his greedy son and environmentalist granddaughter Maddie (Morgana Davies) over plans to turn pristine land into a mining operation. Michael succeeds in keeping the birds alive with pulped fish with the help and encouragement of another coastal recluse, an aboriginal man named Fingerbone Bill (Trevor Jamieson of “Rabbit-Proof Fence”). In flashbacks, Tom’s home-schooled son Michael (a very good Finn Little), who learns vocabulary reading William Goldman’s “The Lord of the Flies,” finds three pelican hatchlings left orphaned by hunters. Like its predecessor, “Storm Boy” tells the story of a lonely child growing up in semi-seclusion on the Southern Australian coast with his father, “Hideaway Tom” Kingley (Jai Courtney), a fisherman whose wife and daughter were killed in an accident.